Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery